Louis Danziger cover art for “The Artistry of Bud Powell” 7″
How many products are there that can get sold over and over again and can sometimes even increase in value? I think about that while going through boxes of used records at the Bop Shop. Like millions of other people I sold most of my records when cds came out and then I sold the cds after ripping them. And someone has bought every one of those items a few times over by now.
The 1954 Bud Powell record above used to belong to Douglas Silver who lived in this house in Lakewood California. His address was had written on the back of the 45 I purchased. I love imagining Doug sitting in this house with Bud Powell on his hi-fi. Records have a long life. They live longer than we do. Louis Danziger, the guy who designed this fabulous cover, is 102. Examples of his work are included in the Cary Graphic Arts Collection at RIT.
I don’t miss all that vinyl and certainly not the cds but Peggi and I hung on to our forty-fives. And the collection continues to swell, mostly with the addition of jazz titles. I made a playlist of our jazz 45s for Apple and Spotify. Here are the links – Apple Music–Spotify
“One” by Margaret Explosion. Recorded live at the Little Theatre Café on 10.05.25
Margaret Explosion plays this Wednesday, December 3rd at the Little Theatre Café. We try to do a different show every time we play. It helps that not all of the five of us can be there most nights. Melissa will not be there on Wednesday so there will be no cello. All five of us were there on October 5 and this song is from our second set. There was a full moon that night and I made this movie as we drove home on East Main after the gig. Peggi was driving. At the intersection of Culver things got a little strange and we went into a dream state. Our friend, Pete, was there and he wrote a poem while he listened. We’ve used his poem in the video.
Peggi Fournier plays soprano sax, Jack Schaefer plays guitar, Mellisa Davies plays cello, Ken Frank plays the big bass and I play the drums. I hope you can stop out on Wednesday. Little Theatre Café 7-9pm
My sister, Amy, and her husband came over for dinner a few nights back and they brought a short stack of fresh vinyl – shrink-wrapped, re-releases and some newly released. We listened to all of one, one side of two others and just one track from a fourth. Not every record works as a setting for conversation and isn’t that really what “over for dinner” means? We need a pretext for conversation.
The next morning I asked Howie” if he could send me a photo of the eight records so we could stream them. He sent this video and I made a playlist of the songs. I couldn’t find the compilation, “When the Rain Turns Into Snow” (I like it when some things just aren’t available to stream). We listened in our living room, in the car and in the kitchen while we separated cardamom seeds from their pods for a recipe.
Andrew Hill “Judgement” on the fabled Blue Note label featuring Bobby Hutchinson on vibes, Richard Davis on bass and Elvin Jones on drums. The way Andrew Hill plays piano he could’ve almost done this date himself. He states the melody, goes on flights of fancy while staying fiercely grounded and carries on a dialog with his own counter-rhythmic, melodic lines. The earthy Elvin Jones and Richard Davis on drums and bass are a perfect compliment and they make this release a masterwork.
Coleman Hawkins “and confreres” (Oscar Peterson Trio and Roy Eldridge) is a curious release. Hawkins horn sounds so rich and the natural reverb they used on it makes it a study in late fifties recording techniques but the bass and drums get lost on some tracks. Almost sounds like they were doing overdubbing back then. The song “Cocktails for Two” transports you and your date to one of those small tables in a smokey, late fifties nightclub .
I had never heard of Muriel Grossmann. Her “Breakthrough” lp is dated 2025 but the opening song, “Already Here,” had me convinced this was something I missed back in the modal jazz heyday of spiritual jazz – Alice Coltrane, Joe Henderson and Pharaoh Sanders etc.
Albums like Jackie McLean’s “One Step Beyond” with Herbie Hancock and Tony Williams are the reason students still study jazz at schools like Eastman. I particularly like the expressive, shape-shifting “Ghost Town” where they slowed things down.
Leroy Vinnegar’s “Leroy Walks Again” reminds you that a band is only as good as their bass player. Known as “The Walker,” he leads his quartet through a solid set of really enjoyable songs. I particularly liked “For Carl.”
Another bass player led disc, Emma Dayhuff’s “Innovation & Lineage: The Chicago Project,” is a live recording with Kahil El’Zabar drums, Dee Alexander on vocals and Isaiah Collier on sax and piano. This is right up my alley, a contemporary version of spiritual jazz. I love this record.
Saxophonist Charlie Mariano’s “Mirror” lp could have only been made in 1972, that cusp when jazz went rock and rock went jazz. Tony Levin plays electric bass, Airto Moreira play percussion and Asha Puthil (from Ornette’s “What Reason Could I Give” and “I’ve Waited All My Life”) sings on the title song. Here is a verse from the back of the lp.
MIRROR Mirror Of your mind Wheels and gears Spinning ’round and ’round Look out for diamonds You don’t need them What for? They can’t help you Find the rainbow’s end Open your third eye
Mona Seghatoleslami is the host of WXXI ‘s Classical 4-7 PM slot. She also hosts the lunchtime concert series at Hochstein. On top of that she books the bans at the Little Café. The WXXI site says “Mona works on any project she can find that helps connect people and music in our community. We asked Mona if she could recommend someone to tune our piano. The piano came from Peggi’s parents and we have only had it tuned once since we moved here. Jaffe, the Colorblind James/Fugs keyboardist took care of that one. Mona recommended Gene Baker, a composer new to the area. Now we are recommending him.
With new life in the upright Peggi has been refreshing her reading skills, concentrating on the left hand, low register parts as she reads. I’ve been listening to her slowly work through the Alec Wilder songbook with enough space between chords to make it sound like Morton Feldman’s “For Philip Guston.”
I picked up a copy of the Alice Coltrane book, “Monument Eternal,” at the show devoted to her at LA’s Hammer Museum. I read some of it while we out there and then some over the summer on our porch. It is a short book but I rarely plow straight through anything. Her son, saxophonist Ravi Coltrane, says Alice was “one of the first people to move outside the mainstream, one of the first female, Black, American jazz musicians to record her own music in her own studio and release it on her own terms.” Alice was from Detroit so I’m loving all the references to clubs in the city. She spent time playing with fellow Motor City musicians Donald Byrd and then Terry Gibbs. Here is a passage from page 127.
“She was particularly at home in minor keys, especially improvising on tunes with slow harmonic motion – much of the music she recorded during her career as a bandleader, such as “Ptah the El Daoud” or “Journey in Satchidanda” were tunes of this nature. On Gibbs “Jewish Melodies in Jazztime,” we can see that her improvisations were already headed in this direction. We can also begin to understand why John Coltrane may have been attracted to her playing. Gibbs recounted how Alice actually “stole the date” from him: She was starting to play runs she got from listening to John and all the musicians flipped out every time she played. She was making those Eastern-style runs on minor songs and they sounded very authentic. I was the Jew, and she was wiping me out. (2003)”
I’m guessing the owners of this sign are finally letting go of that missing Covid year. “Party Accordingly” is good advice any time. On Wednesday we’re celebrating the full moon at the Little Theatre Café. Melissa has gig in Syracuse with her primary band, Wren Cove, so we’ll play without her cello. Peggi and I fell into “It Ain’t Necessarily So” last night so we might try that one with the group. Jack will be there with his bass clarinet and guitar. That is always a treat.
Last month’s first set felt all off to Peggi and me but the second set was magic. Here is song number 11 of the 14 song we did that night.
“Full Moon” by Margaret Explosion. Recorded live at the Little Theatre Café on 10.08.25. Peggi Fournier – sax, Ken Frank – bass, Jack Schaefer – guitar, Melissa Davies – cello, Paul Dodd – drums.
Listen to “Full Moon” by Margaret Explosion, recorded live at the Little Theatre Café on 10.08.25Leave a comment
While filing away some records I came across a sleeve with a stamp on it from a record store on Genesee Street. When Duane lived up here we used to haunt the reggae shops on the west side, his old neighborhood. Their primary business was selling weed under the counter but they advertised themselves as record shops and they had Jamaican imports and a sound system to back up the claim, big dirty, bottom heavy sound systems. They displayed their wares like the photo above except this one was taken in Duane’s office/media/spare bedroom in 1999 after he had moved to Brooklyn. It took me a bit to find the photo as it was tucked away in a folder called “DC210Photos, my first megapixel camera, a Kodak DC 210.
We were talking to Dick Storms at Brian Williams’ bash and I asked, how come you don’t have a Jazz 45 section over there. He was taken aback and acted surprised, saying, are you sure? He said he knew they had boxes of them in a closet in the back room. So many that he began fantasizing about filling the juke box in the back room with jazz 45s. I have spent quite a few hours in that closet now I have only come up with Duke Ellington’s “Indian Summer” and a wacky version of Gato Barbieri’s “Last Tango in Paris” by the Ventures. Rochester’s Gerry Niewood plays sax on that one. Not complaining. I realize how old world my quest has become.
Noah, Melissa,Andrew, Ben and Patrick at Wren Cove Record Release Party at Red White and Brew
We first heard Wren Cove when we shared a gig at Joy Gallery on West Main. They played first and we asked Melissa to sit in with us for our slot. That was three years ago and we’ve heard them many times since. If they don’t have a gig the same night as us Melissa has become a regular in our band.
For a duo Wren Cove provides an incredibly wide pallette of dreamy soundscapes. Andrew’s almost incessant strumming (I am partial to that quality in my own playing) is the foundation of the duo and Melissa’s cello is the “lead singer” as Andrew himself says.
Writing for City, Patrick Hoskin drops astute references to Arthur Russell and Zeppelin’s “Kashmir” in his review of the duo’s new cd, “Movement.” Wren Cove built many of the tracks on their new record around the ancient drum machines shown in the photo above. We have one of them, a Rythmn Ace. It still works even though we’ve jammed it a few times pushing two buttons at once for “Mambo/Slow Rock” or “Samba/Beguine.”. Wren Cove pushes stretches this idea further by manipulating the sound of the drum machine and then having real drummers play on top. This widens the picture frame and can sound like parts stumbling in different directions which only makes it a more compelling listen.
Songs like “Raga in Dm,”Wills,” “Everything We Carry” and especially “Nocturne” with Andrew’s gorgeous piano just sweep us away.
Robert Frank’s shoes under glass at the Visual Studies Workshop in Rochester, New York
There are a few myths surrounding Visual Studies Workshop. I remember their first space on Elton Street, but just barely. I clearly remember many shows in their sprawling University Avenue space. Our neighbor, Rick Hock, was director there for a while. It may have been during his tenure when we first saw Robert Franks shoes in a display case. We heard Frank donated the shoes he wore while shooting photos for “The Americans” and then we heard he had left them behind when he was chased out of the apartment he was staying in. Whatever the story I wasn’t prepared for their dandyness. They look like bowling shows.
Founded in 1969 by photographer, educator and curator Nathan Lyons, VSW was one of the earliest not-for-profit, artist-run spaces in the country. Through an affiliation with SUNY Brockport they offered MA and MFA accreditation until 2022. Today they have set up shop at 36 King Street in the Susan B. Anthony neighborhood with over a million photography and film-related objects, exhibition spaces and an auditorium.
Robert Frank in still from 1972 Visual Studies film entitled “About Us”
Tara Merenda Nelson, chief curator at VSW, told us Frank spent some time in Rochester in the early seventies, just after working with the Rolling Stones. He used Super 8 movie stills from his Route 66 (The Americans) trip for the cover of the Rolling Stones’ Exile on Main St. Tara told us Frank refused to teach but instead dove right into projects with the students. The 16mm film “About Us” was made over a three month period in 1971-72. Each student shot a section of the film while re-interpreting the idea of the self portrait. Frank appears throughout as the group encounters security guards at Kodak Park, a gas station owner on Dewey Avenue, and some of the students parents. Just seeing Robert Frank frolicing at Cobbs Hill is a thrill. The film perfectly capturess what Frank calls “the chaos of the present.”
“Train” from 2003 Margaret Explosion release “Happy Hour”
We performed a version of “Train” at the Little a few weeks ago. I still have the wooden whistle I got from the Railroad Museum. It prompted me listen to the original, from our 2003 cd “Happy Hour.” I threw that file and a few train videos I had into iMovie and came up with this.
Tom Kohn was spinning forty-fives at Skylark last night so headed over there after dinner. We hung out behind the two turntables and I helped Tom put records back win their sleeves. He had all sorts of music mashed up together and some crazy segues. Black Sabbath “Paranoid” into Wreckless Eric’s “Take the Cash.” He had some crazy 45s like Lou Reed and John Cale before the Velvets and Jon Hendricks with the Grateful Dead. But I just couldn’t believe my eyes and ears when he pulled out a Verve Records VU and Nico promo copy of “Sunday Morning” and “Femme Fatale.”
Resist graffiti on on sidewalk at Durand Eastman Beach
We walked early yesterday to beat the heat and came across this graffiti near the beach. We couldn’t figure out what the first word was but we got the “Resist” message.
Swimmer pulling a “No Kings” protest sign at Durand Eastman Beach
As we walked along the beach we passed this guy swimming while towing a plastic dolphin. I tried to read the sign but couldn’t. I assumed it was a Bills thing. The guy saw me taking a photo and stopped long enough to shout “No Kings.”
I set the alarm on my watch for 2:50 so we wouldn’t forget to tune into Kyle Brown‘s three o’clock show “Up on the Roof” on WAYO. We love it so much. Kyle opened this week’s show with Jimmy Smith’s “Walk on the Wild Side,” too long to have been on a 45 and too clean. He plays mostly 45s and playfully skips around from soul to jazz and doo-wop. It’s like a dreamy Sunday afternoon drive in the country and provides items for my want list of used 45s.
Poster for MargaretExplosion gig at Little Theatre Cafe on August 7, 2025. r. to l. Peggi Fournier – soprano sax, Melissa Davies – cello, Ken Frank – double bass, Paul Dodd – drums. Photo by Jason Wilder
Jason Wilder banged off a series of band photos before one of our gigs a few months back (in sweater weather). I did a half-assed silhouette of this one and I cropped out Jack because he can’t make this gig on Thursday.
Our next door neighbor, Rick, called us from the Bop Shop yesterday. We were down in the garden picking pimientos de Padron and he was picking up something for his WITR radio show. He reminded me that the Bop Shop Sidewalk sale started today and he said Tom was going to be in at 10 if I wanted to stop by before the store opened at noon. I took him up on the invitation.
Nothing is out on the sidewalk but the aisles of the store are clogged with boxes of lps, stuff that won’t fit on the shelves of the huge store. The forty-fives are on tables near the back of the store, every one of them a dollar. They will get progressively cheaper as the sale goes on. Of course all the good stuff, the collectable 45s, are still in the the racks at their standard price. The sale is all about clearing out the junk. One man’s junk is the others’ fortune and there are plenty of treasures.
It was great to have the store to myself for almost an hour but I spent about half that time talking to Tom who was by his own admission “over-caffeinated.” When the store opened it was packed and there were seven or eight people pawing through the 45s. The Modern Lovers first lp was playing on the sound system. I was struck by how fucking good “Pablo Picasso” still sounds. 1976 was almost fifty years ago. John Cale hammering out that repetitive piano part. Jonathan’s brilliant lyrics.
Some people try to pick up girls and get called assholes This never happened to Pablo Picasso He could walk down your street and girls could not resist to stare, and so Pablo Picasso was never called an asshole
Well, the girls would turn the color of an Avocado when he would drive down their street in his El Dorado He could walk down your street and girls could not resist to stare Pablo Picasso never got called an asshole Not like you
Alright Well, he was only 5’3″, but girls could not resist the stare Pablo Picasso never got called an asshole Not in New York
I listen to everything before I buy so I was only able to get through about a quarter of the dollar 45s but I came up with perfectly clean copies of Freddy Fender’s “Before the Next Teardrop Falls” (most of it sung in Spanish, the loving tongue), Mary Wells “You Beat Me To The Punch,” the Carpenters “This Masquerade,” George and Tammy doing “Near You,” George’s “Things Have Gone To Pieces” and “If Drinking Don’t Kill Me.” And I found a much cleaner copy of “Scotch and Soda” than the one we’ve been listening to.
Gary Lewis has been living here for the past twenty years or so and he is playing on the beach behind Marge’s at seven tonight. We toyed with going down to the lake to listen, not go in or anything. I had the “This Diamond Ring” and “She’s Just My Style” 45s some fifty years ago and it would kind of be interesting to hear him bang them out on his eightieth birthday but we already walked to the beach this morning.
Marge’s was just named one of best bars of 2025. I would have nominated it back in the day as they would sell six packs over the bar when we were sixteen. Marge’s was funkier and less crowded in the 70s and early 80’s when Ron Beth was stocking the juke box.
Peggi made a batch of pesto with basil (above) and garlic scapes from our garden.
When he was eight or nine our nephew asked his parents for a Roomba. He was fascinated with robotics. I’ll have to ask him if he has had the chance to ride in a Waymo yet. He works in Manhattan and that city is not quite ready. We are still getting over our Waymo experience in SF.
It felt like the Waymo car saw the four of us standing there. No need to flag it down. There was no one behind the wheel when we unlocked the doors with our app. It was exhilarating watching it stop at red lights, turn ever so carefully, even slow appropriately for the speed bumps. And when the thrill wears off you are free to play with your iPad, stare out the window, even space out if you like. I am so ready for self driving cars.
Because our neighbors were in Italy it was surprising to see their lawn being mowed mysteriously when we walked by last week. Funny thing, it had been pretty dry and the lawn did not really need mowing
We went down to our neighbors for the second half of the Women’s EURO Cup finals. They have air conditioning and get Fox Sports through their YouTube subscription. Spain was up one zero at the half but England scored and threw the match into overtime. No-one scored then so it went to a shootout and England won by a nose. Peggi put a bowl of ice cubes in front of fan tonight as she was boiling water for for our garlic scape pesto dinner. I can’t say it made much of a difference.
We brought the fan down to the basement and played some music. We recorded a few things on Peggi’s phone. We have done that quite a bit but we never go back to listen to them.
Hi-Techs performing three songs (Pompei, Screamin’ You Head and A Woman’s Revenge) in Channel 31’s studio in Rochester, NY in 1981
Ozzy connected the whole world. We did a double bill with Ozzy Osbourne on my birthday in 1981. He was beginning his solo career after getting kicked out of Sabbath and he was off to a roaring start with the great Randy Rhoads on guitar. Ozzy and the Hi-Techs were booked on a tv show called “After Hours” that ran on Channel 31 in Rochester.
Ozzy went first and he was still performing when we got to the studio. We were not allowed in the studio. It was loud enough outside. When the band finished they and the roadies all went down to bar on the lower level of the building on East Avenue. We couldn’t get in to the studio to set up and perform until they packed up and that wasn’t gonna happen until the bar closed at two. We didn’t get to play until 4AM. The studio had somebody writhing around during one of our songs but the live performance was pretty good. I think it’s the only video footage of the Hi-Techs.
This video clip from the same night of Ozzy performing “Mr. Crowley” with Randy Rhoads has been viewed 93 million times! It remains the only professionally shot video of Randy Rhoads performing full songs with Ozzy. Rhoads died less than a year after this video in a bone-headed plane accident. RIP Ozzy.
Our friend, Steve, is planning to come up from down south in a few weeks. When he’s here he is always pointing out the rust on vehicles, something he doesn’t see in South Carolina. I’m hoping this truck is still in our neighbor’s driveway when he gets here.
We stopped out at our friend, Brad’s, house yesterday. We volunteered to help set up his new stereo amp for him. We wired the last one and I remembered it being a bit challenges. Brad had two head lamps ready for us. I couldn’t get mine to point in the right direction so I gave up on it.
We started with his cd player, ins and outs (it has the ability to write). Brad had a Frank Zappa disc in. Then the tape deck. Brad had something with Jerry Garcia on it. Then the cord from Brad’s computer. He had some Margaret Explosion playing on his laptop. I found some “tuner” ins for his radio. This amp comes with a remote and Brad was already switching back and forth with it.
I saved the turntable for last. We plugged the wires into the “phono” ports on the amp and noticed there was no ground wire. I put a 45 on to check it out, one from Brad’s old band, “Nobody Famous.” It sounded really distorted. Brad told us he didn’t even play on the record. Peggi suggested Angel Corpus Christi’s “Bewitched” lp. It was all blown out as well. We cleaned the needle and I put on Eric Dolphy’s “Out To Lunch.” Same thing. Peggi got the manual out and read that if the turntable has no ground it needs to be plugged into one of the auxiliary ports. It dawned on all of us at the same time. We had made this same mistake last time!
As we were leaving, Brad told us he had used the homemade tomato sauce that Peggi had given him lsat year. He spread out some Triscuits in a pan, toasted them for a minute, spread the sauce on the crackers and sprinkled some cheese on top of it all before putting it back in the Microwave.
Meet the world’s slowest dj. In the course of one hour you will hear three songs and a lot of talking. I was the guest on CalZone’s WAYO “Record Geek” show on July 3rd, the third in a series of special shows that CalZone has produced. The first two guests were WRUR’s Scott Wallace, host of the long running “Rejuvenation,” and Jimmy Filingeri, bass player for The Fox Sisters.
My records really crackle in the headphones. And I had cleaned them before I left the house. I do not have a radio voice. CalZone (my brother-in-law) sounds like a pro. I kept my eyes closed for most of the interview but opened them for this photo. I fielded questions like “How has your record collecting ‘hobby’ improved your life?” I told the story about selling my baseball card collection to my high school math teacher but I never got to talk about my holy card collection. And when we got to how “Bitches Brew” changed my life I neglected to credit Rich Stim for turning me on to it.
If I had my own nine hour block of time I would have spun my “45s2go” playlist: Choose (Apple) or (Spotify)
Leo Dodd watercolor “Feeding the Birds” Washington Square Park
Jeff and Mary Kaye got us tickets to Geva’s “Beautiful: The Carole King Musical.” Just last week I had noticed new, brightly colored tables (with umbrellas) and chairs scattered around Washington Square Park so I suggested we meet there before the play and have dinner in the park. Peggi and I prepared sandwiches with the ingredients we had ordered from La Tienda and we made a salad from our garden greens. We brought along a bottle of Spanish Rioja and some plastic cups. Monica, next door, let us borrow four plastic plates. Mary Kaye made sorbet with strawberries from their garden. It was somewhere near ninety degrees downtown but the meal was dreamy.
“Beautiful” premiered in San Francisco in 2013 and made its Broadway debut in 2014. It has been produced around the world since and Sony just announced a biopic adaptation starring Daisy Edgar-Jones. The play is set mostly in the Brill Building in NYC, a song factory, where writers churned out hit after hit up until Dylan and rock groups started writing their own. And the story is told through two song writing couples who worked there, Carole King and Gerry Goffin and Barry Mann and Cynthia Weil.
We get to hear “Be-Bop-A-Lula,” “Will You Love Me Tomorrow,” “He’s Sure the Boy I Love,” “Will You Love Me Tomorrow,” “Up on the Roof,” “On Broadway,” “The Loco-Motion,” “You’ve Lost That Lovin’ Feeling,” “One Fine Da,” and “Walking in the Rain,” all of which were written by these couples. Of course Carol King goes solo at the end but they mercifully keep that period brief and the play finishes with “I Feel the Earth Move.” The performers, the band and the production were as good as the songs!
In the program the playwright, Douglas McGrath, talks about meeting the four songwriters to discuss his idea-“a musical about kids chasing out the old guard so they could create the new sound of rock and roll. Carole’s face lit up. I knew I had nailed it. She leaned forward to share her reaction. ‘That,’ she said, ‘is completely wrong!’ ‘What?’ I said, almost losing my balance even though I was seated. ‘We idolized Gershwin and Porter and Kem and Berlin,’ she explained. ‘We studied their music’ -Cynthia piped in, ‘I wanted to be Cole Porter.'”
The title of the play comes from a Carole King quote, “You know what’s so funny about life?” Sometimes it goes the way you want and sometimes it doesn’t. And sometimes when it doesn’t, you find something beautiful.”
We were both sitting at our computers last night when we remembered Frying Pan was playing at Abilene. We were out the door in minutes but we had already missed Big Roy, the opening band. Had it not been for the weather this show would have been held outdoors. I would have preferred that. The club can be like walking into a speaker cabinet. I hadn’t even pushed my ear plugs in fully when my watch was warning about exposure to levels above 100 db. The two guitars sounded great, each playing rhythm and lead, sometimes at the same time but always sounding distinctly different. My brother, Tim, was standing next to us. We mouthed, “hello.” I tried to order a beer. I tried a few times and the waitress, sporting one of the biggest beehives I’ve seen since leaving Indiana, had me write my order on a piece of paper.
My order at Abilene
We couldn’t hear any of the lyrics so we asked Pat what he was singing about. He told us he did one sort of political song about “the beast” and another about a trip he took out west. One was about the “glitter girls” he hung around with in high school. I wish the vocals had been audible. Pat said “you could hear the vocals really good in the monitors.” Maybe we should have hopped on stage with the band.
My “45s2go” playlist (Apple) (Spotify) has gotten bigger. Funny thing is, these are clean files and the songs don’t sound nearly as good as they do on vinyl.
